YEAR 11 MEDIA STUDIES:

UNIT 1 REPRESENTATION: SAC 1

Here are some tips on how to do your SAC

1) Watch the openings again to:

• The Breakfast Club (Bender)
• Welcome to the Dollhouse (Dawn)
• Thirteen (Tracey)

2) Go back over class notes and written exercises. Read through

these and summarise them/locate examples.

3) You may bring in a 1 page A4 cheat sheet using NOTE form. This
will checked during the SAC and must also be submitted with your
actual SAC. You may also bring this sheet with you.
A good idea is to rule up columns heading them Technical, Audio,
\Vritten and Symbolic (as in Codes) Then give examples of each.
Remember that many examples include a number of these codes
working together. You should also try to give examples of some
conventions used (the accepted method of doing something in
relation to the Teen genre)

4) Your analysis will be in ESSAY form with an introduction, body

and conclusion.

5) Your Introduction should:

• make a general statement about the Media and
representation, the notion of selection and omission, the
reality of representations etc.
• refer to how Directors use codes and conventions to
construct representations and therefore create meaning.
• name the 3 films/main characters you will be analysing, state
the eras they are from and mention that you will be
specifically focussing on their openings.

6) The easiest approach for the Body of your essay would be to

allocate 2 paragraphs (min.) per film and describe how the main
character is represented as well as give the best examples of codes
and conventions which are used to construct him/her.

.. .12
 - 2 ­

7) When you have done this, add another paragraph/s which compares
the 3 characters in the openings. How are they similar, how are
they different? This can also extend to how the directors use
codes/conventions similarly/differently. Which representations
are negative? Which are positive? Or are some a combination of
both?

8) Your 2 nd last paragraph(s) needs to briefly refer to how the 3 films

come from different production periods (the 80's, 90's and new
millennium) How did society at the time perceive teenagers and do
the 3 representations reflect this? (You may need to do a little bit
of research here, reading or ask your parents!)

9) Your conclusion just needs to sum up your content, e.g the nature
of representation by the media, how the director uses codes and
conventions to construct teen representations, how we have looked
at a variety of films from different eras and how the main teen
representations are similar/different. You might even like to
speculate on the teen flick of the future!

Finally remember to know the NAMES of the MAIN CHARACTERS

and DIRECTORS and to use KEY TERMS such as
REPRESENTATION, CODES, CONVENTIONS,
CONSTRUCTION etc.
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The Opening Sequence

.ch issues
How does the beginning grab you? Film-makers almost always assume
eplayable that the film they are making will be seen by viewers as a relatively
private experience and in a single viewing. They are also aware that the
piece of art or communication they are making is enormously
expensive and that it must appeal to large numbers in order to repay
the vast outlay.
They must, therefore, at all times have in mind the impact that they
wish to make and the capacity and clarity to engage the audience
throughout the film. While every moment of a film is important there
is no more important section than the opening.
like the opening paragraph of a good novel or essay, the opening
sequence of a film often indicates the direction and gives important
clues as to what continued experience of the film might promise.
Here are some of the elements at the disposal of the film-maker
which can affect the opening sequence. Look for them and see how
well the director used them to make an impact and ensure continued
engagement by the viewer.

Soundtrack
Ask yourself:
• What is the first sound that you hear?
• What sort of sound is it? Sound effect? Music?
• What atmosphere or tone is created by the first sounds?
• How do the sounds relate to the visuals?
• Does the tone or style of the sound change during the opening
sequence?

Setting
Ask yourself:
• Where is the film set?
• How is the setting presented? Establishment shot? View through
keyhole? etc.
• Is printed information used to help establish setting, etc.?
 • Is the film located in a particular time? How is this conveyed?
• What might the location suggest about the story?
• Does the film seem to be about people or about a place?

Character Na

Ask yourself:
• What sort of characters are presented?
• Which ones seem to be the most important? How do
• What is their condition, outlook, attitude? referred 1
• "VVhat situation are they in? assemble!
• Are they presented as appealing or engaging or do you hope for sented se
their downfall?

Focus
Story
This may
Ask yourself:
• events
• How does the story begin? • the cal
• Is the transition between the opening sequence and the rest of the voice­
film smooth and logical or is it a surprise, e.g. flashback, dream? - the
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.... • How well does the opening sequence project the story? - the
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• What is the relationship between the story and the characters on Sha
screen? • evenu;
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Ask yourself:
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• What relationship exists between the soundtrack, story, characters
and the opening titles? This rna
• Did the titles draw your attention away from other important iI conti:
visuals? In what better ways could the titles have been presented? logiC':
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• alten
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The Breakfast C I u b

Five misfits meet at an aLL-day detention, come to terms with their

predicament and gain new insights into their worLd.

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~ director John Huahes > authority
roducers Ned Tanen and John Huahes > breaking out . '

screenplay John Hughes > conformity

Thomas DeL Ruth
> freedom
music
> hierarchy
editor ""
al cast
> peer pressure
Andrew Clark EmiLio Estevez > punishment
John Bender Judd Nelson > schooL
Clore Standish Mol > self-aw~reness
Brion Johnson
> trust
Allison Revnolds
Richard Vernon Paul Gleason
Techniques
Carl John Kaoelos > eye Level shot
93 minutes > medium shot
rati n > Lighting
Twentieth Centurv Fox 1985 > reaLism -~ .
> montage

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 Comparing
• Representations
FOHNI PAPADATOS

The following essay was written by Foteni Papadatos, a Year II student at

Pascoe Vale Girls' Secondary College. It is an excellent example of student work
required for work Requirement Number 3 in Unit I, Representation. Students
were required to write a 1500 word essay comparing three television programs
in terms of how they portray and represent a particular group.

T he three television series that I have analysed - Roseanne, The

Brady Bunch and Home Improvement all represent families in
different ways. Roseanne represents the family in a realistic
manner. The series shows the parents (Roseanne and Dan) in common
situations that most families go through. For example, they work full
time and ha ve financial problems making ends meet. The children go to
school, have homework and have annoying siblings with whom they
constantly fight. Home Improvement also portrays the family as having
difficulties, and does this in a similar manner to Roseanne - in a comical
and sarcastic way. For example, the kids often disagree with their
parents' views and the parents (Tim and Jill) handle their matters
sarcastically. An example is when Jill took one of her sons shopping and
publicly embarrassed him. Jill laughed at it and made a sarcastic joke out
of it.
The Brady Bunch tends to represents families in an extremely unrealistic
way. Their problems are always discussed sensibly and logically, and the
parents never have major problems. They have a maid; the children are
close, usually enjoying each others' company and they are constantly
trying to please their parents; for instance when the children did not want
to celebrate Christmas because their mother was sick and it would have
been no fun. Not many families (especially Roseanne or Home Improve­
ment) parallel the artificial perfection of The Brady Bunch.
The Brady Bunch's opening credits show Mrs Brady with three girls, her
daughters. AU the girls have blonde hair, as is confirmed in the lyrics of
the song. The next shot is of Mr Brady together with his three sons. The
next shot consists of the family together as the lyrics confirm that they
gOt married and became a family. All are smiling and this is an indication
that they are all happy, that they get along really well and enjoy each
others' company. The music is happy and chirpy, reinforcing their
happiness and their close, flawless relationship - flawless as they never
have an argument or problems that are unresolvable, within a thirty
minute program.

10' Metro Edu'''"tion No. 6

 ;;<11(\ ,1 ;,rdcrhnc"l'1dr I.un' v
" rC'lrirOrceJ IW [he WJ~ rhl' ch:iJren
,I rc order In the
il1r[<)ducnon of the show, The "1'1­
.<,des shoot the children" Hh­
l'lJt r herr rrespondl PH[I1Cr.

I, mil

,h"Wll In the same shot WIrh Creg i the

"Idest son). IS otten shown y\ lrh

has ItS POSI­

tlon looks our of
ThIS IS
the sefl(~S, One
wreJths placed on the centre
of the doors and had cards and candy
sticks in a neat and tldv manner
Jt the same distance from each other.
ThiS reflects a family that is incredibly
ordered and orgamsed. The
kitchen is very bright, wJ[h vibrant
orange cupboards and plenty of sun­
light coming in, and IS always spot-
clean. Dishes never appear in the
slIlk and the viewer never sees any
food scraps lying around.
The Brady chIldren, by COntrast to the
children in Roseanne, ha ve very dean
rooms and no clothes lYlIlg around.
The Brady family have a garden that IS well looked after and has well grass tha t IS ,1 Roseanne
'.'l'dd green. ThIS Indicates that the Bradys have time to look after the house and even have
J perfect garden, vvhilst still hrl\'ing tIme for their pertect house and children.

Rose.mne has bikes pIled on the verrmdah, This IS shown to make the viewer see that thn
cUe not extremely neat and pertect. The Introduction of the program reveals a messy kltLhen

wah dishes in the sink and food all over the table. The cha racters are introd uced all together,
-;itting around a table having a good time together. Even though the family is ail over the
doing their own thing, the carner:! shows them all in one shot, in a pan that show,>
c'H:rv member. This highlights their ul1lty and their lack of orgalllS.1
[lOn Jnd perfection.
The music is a gutsy blues song and IS not as and as the tune for TiJ"
ill/lid" ThIS gIlTS the feelIng ()i .1 relaxed that there eXlsrs a
,wei "lIts\' SIde to the famIly', [he Jnrroduc'tlOn shows Dan J ba,ebali cap JnJ

h, ,kling. a football. \Vatchlng the sporrs, hence

,;:l2,f:lr:"::,JnCe of rh(' pIzza.
nor ve[\' c'ollcerncd abour the:r heairl1.
':[nt''i' ,lr rhl"IL,ll Jppe.1UJ1cC '-'n the l'hddrell or In\'oh'cd :n ,111\
<'I ,r-tlng ~ll:[i\ ;fiCS. thIS .
. .l' ! r,: rod ~l(..': lOll tor R()S{',]!l!lt' ,.1':'1 ,1Ilei busy Jnd

"Ie> ~()i ()\\, rh:, reFrC'C'J1LH ' i ''',J FI)r D,Irl \\'urks full [[me J, J ['Iuicler

<.1;I~L:l~ In "1I1.j ~)U( :Jt'luh~' ,Jllei R(hl'Jr.ne works two ,1

VE'·, ::.._ d'

 wJ!tress at ~1 ,mJll restaunnt JUring the day and a inr waitress during the night. The
chIldren Jrc expected to clean ,lnd cook, since the parents are so preoccupied. Arguments
erupt and chaos !s -:reated between [he children as they do not want to do the chores, unlike
The Brady Bunch where chores never need doing. The Connors do not have the time like
the Bradys do, to ,it with the family Jnd go out all together, because they are not wealthy
I.thlS is shown their cheJp-Iookmg, bJdlycoordinated furniture) and they have to struggle
to make ends meet.
The famtly in Roseanne is not intimate and expressive like The Brady Bunch. The parents
In Roseanne do not kiss their chtldren before going to bed like The Brady Bunch do, or pat

their heads and shoulders playfully. Also, during

the program Roseanne does not ha ve much body
contact with the kids or Dan, as do The Brady
Bunch. For example, Mr Brady affectionately
touched his wife on the back, whilst he was
talking to her on the couch. The Bradys show
affection by hugging each other and by kissing
each other goodbye whenever they leave. The
kids of the Bradys never get aggressive like the
Connor kids, who punch each other (not vio­
lently) and even pull each others' hair. For exam­
ple, Darlene (Roseanne's daughter) punches and
screams at her younger brother when he annoys
her. The Brady kids call their parents immedi­
ately when a small dispute arises between them,
ego Cindy thought that Bobby was cheating in a
game of chess and did not tell him off. She called
her parents without delay.
Roseanne dresses to impress no one but herself
and for comfort. Jill (the mother from Home
Improvement) dresses casually but in a stylish
and fashionable way (overalls, jeans, fashion­
able suits, etc). This tells the viewer that she is
smart (the suits) and that she is also relaxed. Her
dothing dashes with her personality which is
impatient and nervous. Tim, Jill's husband wears
shirts and jeans with sneakers and this makes
him appear a bit sloppy and casual like Dan.
Sara C.lbert as Darlene They both enjoy TV sportS and are informal and easygoing people; their dothing reflects
Connor In ":(osednne this . .'vir Brady wears cardigans,shirts and slacks. Mr Brady's clothing suggests that he a very
reserved and placid father. This also emphasises the fact that he has a professional job and
is we:llthier t!-lan Tim and Dan, who tend to dress comfortably and simply, wearing jeans.
'\irs Bradv never wears p:WtS but wears bright, well-tailored dresses and suits.
The Brady children wear very -:oiourfuJ and prominent dothing. The girls dress similarly
to their mother. They never wear pants and have their hair done even at home. The Brady
bon dress like their (:leher. :lll wear shirts and slacks and they look smart and proper.
The ~hl!dren tend [Q look JOlt overdressed for their age. The boys wear similar clothes to
their bther Jnd thIS Implies thJt ehe:" look up to him and follow his example. The program
Rose.zllne is -:oncerned with the -::har:lcters' individuality and style. That is why Connor kids
possess J ,ense of independence. The way they dress accentuates this. They all have their
own snle of clothing Jnd dress comfortably, like their parents. The three boys in Home
improl'ement are lr:tO (omputeqpmc:,. (:lrs and sport. This tells us that they are stereotyped

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